Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Yonca Lodi - Düştüysek Kalkarız - Chord
Key D major – B minor Chords Em, F#m, G, A, Bm, F# Easy key C (capo 2)
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Key: D | Bm
Capo: 0
Bm
Böyle bir acıya, yürek nasıl dayanır
F#m Em
Nasıl alışır bilmem
A F#m
Biliyorum senin de, aklın hep bende
Em G
Nasıl dersin gelmem
Bm
Kırıldın mı çok,yoruldun mu yoksa
F#m Em
Nedir esaslı neden
A F#m
Yarım kalamaz inan, bu aşk böyle
Em G
Yakalar kalbinden
F#m Em
Emin misin bu kadar kendinden
A
Ne zaman çıktın aşkın emrinden
G F#m
Gurur mu onur mu, söyle bizi vurur mu
Em F#m
Biz böyle severken
Bm
Düştüysek kalkarız, daha ölmedik ya
Em
Büyük yeminlerden vazgeçip dönmedik ya
G Em
Benim bir günüm geçmez ki seni görmeden
A G F#
Bitanem, bırakma kendini al kalbini gel hemen
End of song Play again?
Yonca Lodi - Düştüysek Kalkarız Tabs
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Harmony analysis
Yonca Lodi – Düştüysek Kalkarız: key and chord analysis
The song opens on Bm and ends on F#. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
- #7 = A# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because it opens on Bm, Bm is heard 3 times while D never appears and the major V chord points straight at Bm. That is an interpretation, not a rule — the same chords are just as valid seen from D major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to D or to Bm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | — |
| ii | Em | Supertonic — prepares the dominant | E · G · B | 8× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | 7× |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | 1× |
| IV | G | Subdominant — moves away from home | G · B · D | 5× |
| V | A | Dominant — strongest pull home | A · C# · E | 4× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 3× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 3× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | — |
| iv | Em | Subdominant — moves away from home | E · G · B | 8× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | 7× |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | 1× |
| VI | G | Submediant — warm colour | G · B · D | 5× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 4× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 6 different chords appear 28 times in total; 5 of them sit naturally inside the shared scale. The major V of Bm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from D, the same F# is V/vi, a secondary dominant heading for Bm.
Chord movement
- Em A Dii → Vii → V Bmiv → VII ×4
- G Bm DIV → vi BmVI → iVI → i ×1
- F#m Bm Diii → vi Bmv → inatural-minor cadence ×1
The move to watch is Em → A, heard 4 times. From the Bm side it is iv → VII; from the D side it reads ii → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- When F# comes, swap the scale's A for A#: that single note is the harmonic-minor sound of the chord.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening Bm lays a solid floor for everything that follows. The backbone is Em, F#m, G, A — ii–iii–IV–V from the D side, iv–v–VI–VII from the Bm side. F# is the interesting twist: in D it is a chromatic chord (V/vi), while in Bm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Em → A (ii → V in D, iv → VII in Bm): ii → V — the classic preparation of the dominant. The final chord is F#; the ear comes to rest in D.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Yonca Lodi - Düştüysek Kalkarız Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Zeki ÜnerMusic: Zeki ÜnerArrangement: Mehmet Sonay
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